The Pregnancy of Form

Abstract

This paper develops a reflection on the curatorship of the 33^rd São Paulo Biennial discussing two of its individual exhibitions: those of the Guatemalan artist Aníbal López and of the Paraguayan Feliciano Centurión. The author's goal is to think how the relations of affection and closeness between artworks and spectators are established in a biennial which was guided by a discourse on the sensible dimension of the form. In the theoretical dimension proposed by Mário Pedrosa, one of the referents of the curatorial axis of this biennial, the form can convey and lead affections, create networks or destabilize the dimensions of the reality experienced in order to open new worlds. From a personal experience of the exhibition space, this article reflects, therefore, about the affective affinities that curators translated into the Ibirapuera's Pavilion.